Track Listing

1. Come Rain or Come Shine
2. Autumn Leaves [Take 1]
3. Autumn Leaves [Mono Version][*][Take]
4. Witchcraft
5. When I Fall in Love
6. Peri's Scope
7. What Is This Thing Called Love?
8. Spring Is Here
9. Someday My Prince Will Come
10. Blue in Green [Take 3]
11. Blue in Green [Take 2][*]

Product Details

• Amazon Sales Rank: #105764 in Music
• Brand: Evans
• Released on: 1991-07-01
• Number of discs: 1
• Dimensions: .19 pounds

Album Description
Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing includes four bonus tracks. Universal. 2008.

Amazon.com
Lyric and thoughtful, pianist Bill Evans proved an urbane bridge between the early bop style of Bud Powell and playful funk of Horace Silver, and the later, modern approach of pianists like Herbie Hancock, Chick Corea, and Keith Jarrett (indeed, Jarrett went as far as to record with Evans's backup band of drummer Paul Motian and bassist Gary Peacock). Evans's second album as a leader, Portrait in Jazz combines a pair of originals--"Blue in Green" and "Peri's Scope"--with a handful of show tunes and standards, including a version of "Someday My Prince Will Come" that pre-dates Miles Davis's adaptation. With a preference for irregular phrasing and a taste for unusual chord spellings, Evans was frequently able to recast old chestnuts and tired warhorses into new gems and spirited charges, as he does here with "Witchcraft," "Spring Is Here," and "When I Fall in Love." And although he recorded in many different formats throughout his career, including duets with himself, the power and beauty of Evans's trios helped him lay a special claim to that grouping. --Fred Goodman

Customer Reviews

One of the most absorbing and enjoyable Evans albums
Portrait in Jazz was the first of only four (official) albums made by what Evans fans know as "the first trio" - the one with Scott La Faro and Paul Motian - which introduced a new approach to the music of a jazz piano trio. Whereas the conventional trio tended to feature the pianist as a 'star soloist' with bass and percussion essentially as 'accompanists' with a fixed and limited role, Evans, La Faro and drummer Paul Motian aimed to develop more of a sense of equal and spontaneous interplay. Scott La Faro was the right man in the right place: his virtuoso technique and strong musical personality enabled him to play the more active, assertive (but compatible) role Evans wanted for the group. By the time this trio played its famous sessions at The Village Vanguard (Live at the Village Vanguard and Waltz for Debby) this 'collective improvisation' was well developed. Portrait in Jazz being the first album by the trio, the roles within the group are sometimes still fairly conventional, with bass and drums functioning as a `rhythm section' with the pianist spotlighted as `leader'. However, there's a strong sense of discovery and enthusiasm which, I think, gives the music a greater freshness and vitality than the subsequent albums by this trio and it's those qualities, along with the sensitive, alert musicianship of the trio which makes this one of the most absorbing and enjoyable of Evans's many albums.

Part of its appeal is also the excellent choice of material, but much of the interest lies in what Evans in particular does with it. Often this is mainly a matter of the unusual chord voicings and adjustments of rhythm and phrasing he gives to a familiar tune, which open up wider harmonic and rhythmic perspectives for improvising. You hear this from the opening bars of the first number, "Come Rain or Come Shine" and it's evident also in the slower ballads, a haunting version of "Spring is Here" and a probing reading of "When I fall in Love". Notice for example how, on the latter very familiar tune, Evans's slightly 'off-centre' harmonies create a different kind of emotional tone from the suave, sentimental one which singers usually give it. Among the other high spots are the famous up-tempo version of "Autumn Leaves", with its infectious swing and lively interplay between piano and bass, similarly propulsive readings of "What is this Thing Called Love" and "Some Day My Prince Will Come" and a marvellous "Blue in Green" on which the rapport between Evans and his partners is especially close.

This is a classic piano jazz album, and one that never seems to lose its freshness. Highly recommended.

Every single recording Evans made with LaFaro get 5*s
All of Bill Evans' Riverside recordings are, in my opinion, classics - yes, even the 'alternate takes'. What make the alternate takes valuble to me is the chance to hear the sidemen (Scott LaFaro on bass and Paul Motian on drums) explore different melodies and solos. "Autumn Leaves" is a case in point here. As a musician myself, it is fascinating to hear the subtle differences between the stereo and mono takes and the different ideas by all three players. I must disagree with the previous reviewer who thinks that the "bonus" tracks are invalid both as music and marketing. Originally, when first reissued on a double LP entitled "Spring Leaves" - containing both single LPs "Explorations" recorded in 1961, and "Portrait in Jazz" recorded in 1959 - the "bonus" tracks were simply called "previously unissued", and included both the mono version of "Autumn Leaves" as well as a version of "The Boy Next Door". This was not a marketing ploy, as the double LP was very fairly priced and contained enough material without the added tracks. It was done for historical purposes and cleared by the artist. The stereo equipment had malfunctioned on the one - we will never know whether or not Bill Evans was or was not satisfied with the take, but it is true that Evans was not fully satisfied with "The Boy Next Door" and it was not included in the single LP "Explorations". Later, though, Evans would look back and be less critical, allowing these to be released as part of that Milestone "twofer". He also states plainly in the liner notes that he feels both of these LPs to be some of his best work. I concur. There is not one single track on "Portraits in Jazz" that dips below the highest standard. The near-telepathic communication between Evans and LaFaro has been well documented and is clearly heard on all tracks. Also, Paul Motian should never be underestimated, as his tastefullness is beyond question on this and every other recording with Evans and LaFaro. I do miss the 'alternate take' , momo, of "Spring Leaves" on my single LP of Portraits I Jazz - which is in much better shape than the Milestone 'two-fer. I will say this: I cherish the Milestone re-issue because of the liner notes, which contain much information about both the men, the music, and a lengthy conversation with Evans regarding the time and the feelings associated with all the recordings. The 2-record set was released in 1976 and produced, as were the original single LPs, by Orrin Keepnews.

Another Gem!
Contrary to the views of some Evans' devotees, not all of his recordings are uniformly excellent. Much of the material from the middle of his career, especially, suffers from a kind of overly busy virtuosity and sterile, introspective approach to the same material. But this album measures up well against the best Evans' recordings--the early Vanguard sessions as well as the late Paris concert. In fact, it's a "studio" version of the same telepathic trio recorded live on the Vanguard session. But here the piano's sonorities are fuller, richer, and Evans' solo voice is more prominently featured. In fact, I find this the best album to use when demonstrating Bill's special genius to "outsiders." "Come Rain or Come Shine," the very first tune, showcases his luminous tone and clustered left-hand voicings; "Autumn Leaves," the second tune, beautifully illustrates the "democratic" role of each of the three players, alternating ensemble polyphony with straight-ahead 4/4 swing. For the collector who's already acquired "Live at the Vanguard" and "The Paris Concert," this is certainly worth considering as the next addition to a collection of Evans' best recorded work.